Gabriel García Márquez declined numerous offers to adapt his renowned novel, “One Hundred Years of Solitude,” into a film during his lifetime, expressing concerns over how Hollywood might interpret his 1967 work. However, following his death a decade ago, his family permitted Netflix to create an adaptation.
Rodrigo García, Márquez's son, stated that Netflix proposed a Spanish-language series filmed in Colombia, featuring a predominantly Colombian cast, an approach that aligned with honoring his father's legacy.
Prior to the release of the first season of “One Hundred Years of Solitude” (“Cien Años de Soledad”) last month, a visit to Colombia provided insights into the series' production. A multimedia project published earlier this month highlighted the directors' handling of the book’s magical realism, characterized by elements such as ghosts and levitating characters intertwined with daily life.
Having spent part of my upbringing in Colombia, where García Márquez is highly regarded, I was eager to explore the filming of this series in the author’s native land. His image is featured on the 50,000-peso bill, and students often memorize the opening lines of his iconic work in school.
The production took place in Ibagué, where Netflix constructed Macondo, the fictional town central to the novel. The crafted town, with vistas of the Andes, bore resemblance to actual Colombian locales.
As I walked through the 19th-century Macondo, memories of childhood visits to similar towns resurfaced. Colombia's civil conflict, which marred the 20th century, contributed to the preservation of its scenic countryside and quaint villages, some of which appear unchanged over time.
Production designers Eugenio Caballero and Bárbara Enríquez, known for their work on the Oscar-nominated film “Roma,” meticulously designed the set for historical accuracy, from the posters adorning Colonial-style buildings to the wax-dripped candles in Catarino’s tavern.
This portrayal of Colombia contrasts sharply with the animated depiction in the film “Encanto,” offering a more authentic representation.
The dedication of the Colombian cast and crew was profoundly evident throughout the production. Their enthusiasm was palpable in the costume department, as well as in the attention given to seemingly small details, such as coffee service. Many expressed that participating in this project was a significant honor, with some considering it the most important work of their careers.
This pride stems not only from García Márquez’s prominence in Colombia and the significance of his book but also from a desire to reshape Colombia's international image, which has often been overshadowed by associations with Pablo Escobar and the drug trade. Productions like “Narcos” perpetuate a narrow narrative that overlooks the broader context of Colombia’s history, including decades of civil conflict and the suffering endured by its citizens.
Some cast members of “One Hundred Years of Solitude” have personal experiences with this violence; for instance, series director Laura Mora lost her father to a hitman in Medellín more than 20 years ago.
While García Márquez acknowledged Colombia’s tumultuous past, many readers celebrate the beauty found in “One Hundred Years of Solitude.” Colombian screenwriter Camila Brugés notes that beneath the novel's enchanting surface lies a darker narrative. The Netflix series similarly explores themes of war, death, and intergenerational trauma, while offering visually stunning moments where characters grasp meaning and humor amidst adversity.
This series is poised to resonate with Colombian viewers, potentially evoking cherished memories, while also offering international audiences a more nuanced understanding of Colombia beyond its challenging stereotypes.
This accomplishment reflects the depth and significance of García Márquez’s work.